La Scala

Whole books could be written about Beethoven and the influence exerted on his work by important political figures from both the past and from his own time. One such example is his Coriolanus Overture, which encapsulates in music the story of the arrogance and fall of a Roman general (who was probably a fictitious character). Gnaeus Marcius Coriolanus is a proud patrician who’s antagonised the plebeians, resulting in charges of sedition and his banishment from the city. In order to avenge himself, he allies himself with Rome’s archenemies, the Volsci, and attacks his homeland. Coriolanus ceases his attack on account of his mother’s pleading, but he still meets a tragic end when he is accused of treachery by the Volsci and is murdered.

Out of all the personalities on the political stage, the one who exerted the greatest impact on Beethoven was undoubtedly Napoleon. Beethoven had initially been enthusiastic about his revolutionary spirit, but became more and more angry and disillusioned at Napoleon’s increasingly tyrannical attitude to power. When Beethoven composed his 7th Symphony, Napoleon was about to embark on his invasion of Russia. By the time this symphony was premiered in Vienna in 1813, that campaign had failed miserably, and the decisive Battle of Leipzig had been won by the Allied troops. The concert was held to raise money for wounded Allied soldiers and became a great, triumphant celebration. Beethoven’s secretary, Anton Schindler, wrote euphorically that “The outbursts of jubilation […] surpassed everything that we had hitherto experienced in the concert hall”.

Felix Mendelssohn Bartholdy experienced less turbulent times in Leipzig when he composed his famous Violin Concerto in e minor. He had announced its composition to the violinist Ferdinand David back in 1838, though it was only premièred in 1845. Mendelssohn was unable to attend on account of illness, and Niels Gade conducted. This work is one of the most influential solo concertos of the 19th century. Its innovations include the manner in which the solo violin enters right at the start, and the written-out cadenza that arrives unusually early in the first movement. However, its most original aspect is probably the lack of any pauses between its individual movements, meaning that the audience has to wait until the end of the work before applauding. The soloist in our concert is Julian Rachlin, who will also direct the Filarmonica della Scala of Milan, founded by Claudio Abbado in 1982.

This concert is a collaboration between ANDERMATT MUSIC and Swiss Alps Classics.